Rising like a phoenix from the ashes - definition of rising like a phoenix from the ashes by The Free Dictionary Rising like a phoenix from the ashes - definition of rising like a phoenix from the ashes by The Free Dictionary Also found in: Thesaurus , Legal , Encyclopedia . Phoenix The capital and largest city of Arizona, in the south-central part of the state northwest of Tucson. Founded in the 1860s on the site of an ancient Hohokam settlement, it became territorial capital in 1889 and state capital in 1912. phoe·nix also phe·nix (fē′nĭks) n. 1. Mythology A bird in Egyptian mythology that lived in the desert for 500 years and then consumed itself by fire, later to rise renewed from its ashes. 2. A person or thing of unsurpassed excellence or beauty; a paragon. 3. Phoenix A constellation in the Southern Hemisphere near Tucana and Sculptor. [Middle English fenix, from Old English and Old French, both from Medieval Latin fēnix, from Latin phoenix, from Greek phoinix.] phoenix phenix n 1.

(Classical Myth & Legend) a legendary Arabian bird said to set fire to itself and rise anew from the ashes every 500 years 2. a person or thing of surpassing beauty or quality [Old English fenix, via Latin from Greek phoinix; identical in form with Greek Phoinix Phoenician, purple] Phoenix n, Latin genitive Phoenices (ˈfiːnɪˌsiːz) (Celestial Objects) a constellation in the S hemisphere lying between Grus and Eridanus Phoenix (ˈfiːnɪks) n (Placename) a city in central Arizona, capital city of the state, on the Salt River. Pop: 1 388 416 (2003 est) phoe•nix (ˈfi nɪks) n. 1. (sometimes cap.) a fabulous bird that after a life of five or six centuries immolates itself on a pyre and rises from the ashes to begin a new cycle of years: often an emblem of immortality or of reborn idealism or hope. 2. a person or thing that has been restored after suffering calamity or apparent annihilation.

[before 900; Middle English, Old English fenix < Latin phoenīx < Greek phoînīx] Phoe•nix the capital of Arizona, in the central part. 1,159,014. ThesaurusAntonymsRelated WordsSynonymsLegend: Noun 1. Phoenix - the state capital and largest city located in south central Arizona; situated in a former desert that has become a prosperous agricultural area thanks to irrigation Arizona , Grand Canyon State , AZ - a state in southwestern United States; site of the Grand Canyon 2. genus Phoenix liliopsid genus , monocot genus - genus of flowering plants having a single cotyledon (embryonic leaf) in the seed Arecaceae , family Arecaceae , family Palmaceae , family Palmae , palm family , Palmaceae , Palmae - chiefly tropical trees and shrubs and vines usually having a tall columnar trunk bearing a crown of very large leaves; coextensive with the order Palmales 3.

phoenix - a legendary Arabian bird said to periodically burn itself to death and emerge from the ashes as a new phoenix; according to most versions only one phoenix lived at a time and it renewed itself every 500 years mythical being - an imaginary being of myth or fable 4. Phoenix Rising: Mythical Creature, Phoenix Bird Mythology, Myth Beast Ancient Phoenix of Egypt (Benu, Bennu) The ancient Egyptians linked the myth of the phoenix with the longings for immortality that were so strong in their civilization, and from there its symbolism spread around the Mediterranean world of late antiquity. The Bennu bird was usually depicted as a heron. Archaeologists have found the remains of a much larger heron that lived in the Persian Gulf area 5,000 years ago. The Egyptians may have seen this large bird only as an extremely rare visitor or possibly heard tales of it from travelers who had trading expeditions to the Arabian Seas. It had a two long feathers on the crest of it's head and was often crowned with the Atef crown of Osiris (the White Crown with two ostrich plumes on either side) or with the disk of the sun.

The Bennu was the sacred bird of Heliopolis. Bennu probably derives from the word weben, meaning "rise" or "shine." The Bennu was associated with the sun and represented the ba or soul of the sun god, Re. In the Late Period, the hieroglyph of the bird was used to represent this deity directly. As a symbol of the rising and setting sun, the Benu was also the lord of the royal jubilee. This Egyptian phoenix was also associated with the inundation of the Nile and of the creation. Standing alone on isolated rocks of islands of high ground during the floods the heron represented the first life to appear on the primeval mound which rose from the watery chaos at the first creation. This mound was called the ben-ben. It was the Bennu bird's cry at the creation of the world that marked the beginning of time. The bennu thus was the got of time and its divisions -- hours, day, night, weeks and years. The Bennu was considered a manifestation of the resurrected Osiris and the bird was often shown perched in his sacred willow tree.

At the close of the first century Clement of Rome became the first Christian to interpret the myth of the phoenix as an allegory of the resurrection and of life after death. The phoenix was also compared to undying Rome, and it appears on the coinage of the late Roman Empire as a symbol of the Eternal City. Classical Arabian Phoenix Perhaps the most well known, the Arabian phoenix was a fabulous mythical bird, said to be as large as an eagle, with brilliant scarlet and gold plumage and a melodious cry. Making it's home near a cool well, the Phoenix would appear at dawn every morning to sing a song so enchanting that even the great sun god Apollo would stop to listen. It was said that only one phoenix existed at any one time, and it is very long-lived with a life span of 500 years, 540 years, 1000 years, 1461 years or even 12,994 years (according to various accounts). As the end of its life approached, the phoenix would build a pyre nest of aromatic branches and spices such as myrrh, sets it on fire, and is consumed in the flames.

After three days the birth -- or as some legends say a rebirth -- the phoenix arises from the ashes. According to some sources, the phoenix arose from the midst of the flames. The young phoenix gathers the ashes of its predecessor into an egg of myrrh and takes it to Heliopolis, the city of the sun, to deposit it on the alter of the sun god. A symbolic representation of the Death and rebirth of the sun. It is also described as being either eagle like or heron like. It lives on dew, killing nothing and crushing nothing that it touches. Generally considered the king of birds. It has alternatively been called the bird of the sun, of Assyria, of Arabia, of the Ganges, the long-lived bird and the Egyptian bird. The earliest reference to the Phoenix was made by Hesiod in the 8th century B.C., but the most detailed account is by Herodotus of Halicarnassus, the famous Greek historian in 5th century B.C. Chinese Phoenix (Feng Huang) In Chinese mythology, the phoenix is the symbol of high virtue and grace, of power and prosperity. It represents the union of yin and yang.

It was thought to be a gentle creature, alighting so gently that it crushed nothing, and eating only dewdrops. It symbolized the Empress usually in a pairing with a dragon (the dragon representing the Emperor), and only Empress could wear the phoenix symbol. The phoenix represented power sent from the heavens to the Empress. If a phoenix was used to decorate a house it symbolized that loyalty and honesty was in the people that lived there. Jewelry with the phoenix design showed that the wearer was a person of high moral values, and so the phoenix could only be worn by people of great importance. The Chinese phoenix was thought to have the beak of a cock, the face of a swallow, the neck of a snake, the breast of a goose, the back of a tortoise, hindquarters of a stag and the tail of a fish. A common depiction of the Feng Huang was of it attacking snakes with its talons and its wings spread. In fact images of the phoenix have appeared throughout China for well over 7000 years. Often in jade and originally on good-luck totems.

Although during the Han period (2200 years ago) the phoenix was used as a symbol depicting the direction south shown as a male and female phoenix facing each other. It carried two scrolls in its bill, and its song included the five whole notes of the Chinese scale (I don't exactly know how it could sing with its mouth full). Its feathers were of the five fundamental colors: black, white, red, green, and yellow and was said to represent the Confucian virtues of loyalty, honesty, decorum and justice. Depictions of the phoenix were placed on tomes and graves. Japanese Phoenix (Hou-Ou/Ho-Oo) The Ho-Oo is the Japanese phoenix, the Ho being the male bird and the Oo being the female. Introduced to Japan in the Asuka period (mid 6th to mid 7th century AD) The Hou-Ou greatly resembles the Chinese Phoenix the Feng-Huang in looks.

The Ho-Oo is often depicted as nesting in a paulownia tree and was thought to only appear at the birth of a virtuous ruler and was said to mark a new era by decending from the heavens to do good deeds for people only to return to its celestial abode to await a new era. In other traditions, the Hou-ou apears only in peaceful and prosperous times -- which are rare indeed. The Ho-Oo has been adopted as a symbol of the royal family, particularly the empress. It is supposed to represent the sun, justice, fidelity and obedience. It was used in a wide veriety of items including mirrors, lacquerware, textiles and chests. Phoenix Cremation Jewelry Arabian Mythology Various mythological traditions of the Phoenix Generally speaking, the phoenix is a mythical bird with a colorful plumage and a tail of gold and scarlet (or purple, blue, and green according to some legends). It has a 500 to 1,000 year life-cycle, near the end of which it builds itself a nest of myrrh twigs.

MYRRH: When burned, myrrh it produces a smoke that is heavy, bitter and somewhat phenolic scent, which may be tinged with a slight vanillic sweetness. Unlike most other resins, myrrh expands and "blooms" when burned instead of melting or liquefying. Myrrh was used as an embalming ointment and was used, up until about the 15th century, as penitential incense in funerals and cremations. The "holy oil" used by the Eastern Orthodox Church for performing the sacraments of chrismation and unction is traditionally scented with myrrh, and receiving either of these sacraments is commonly referred to as "receiving the Myrrh". (Wikipedia) The Magi brought gifts to the Christ-child. One of these was myrrh. It is believed this was a symbol of his future passion and death, after which his body would be embalmed with myrrh. As the phoenix reaches the end of its life, it opens it wings towards the sun. As it catches the rays of the sun, both bird and nest burst into flames until they are reduced to ashes.

The egg within the phoenix survives the flames, from which a new, young phoenix arises, (in three days) reborn anew to live again. The new phoenix is destined to live as long as its old self. In some stories, the new phoenix embalms the ashes of its old self in an egg with myrrh twigs and deposits it in the Egyptian city of Heliopolis (sun city in Greek). The phoenix seems to capture the imagination of man from age to age and from one culture to another. It seems to touch something in the human psyche that wants to believe in life after death. For thousands of years, it has continued to be a universally-present symbol in all major civilizations, around the world and down through history. Similar versions of the phoenix can be found in Chinese (Fêng-Huang), Japanese (Ho-oo) Russian (Firebird), Egyptian (Benu) and Native American (Yel). Chinese mythology Feng Shui Master Lam Kam Chuen noted in the Feng Shui Handbook: “A mythical bird that never dies, the phoenix flies far ahead to the front, always scanning the landscape and distant space. It represents our capacity for vision, for collecting sensory information about our environment and the events unfolding within it.

The phoenix with its great beauty, creates intense excitement and deathless inspiration.” In Chinese mythology, the phoenix is the symbol of high virtue and grace, of power and prosperity. It represented the union of yin and yang. It was believed to be a gentle creature, alighting so gently that it crushed nothing, and living off of dewdrops. If the owners of a house decorated it with an image of the phoenix, that symbolized the homeowners as people of loyalty and honesty. When worn as jewelry, it portrayed that person as having high moral values; so the phoenix could only be worn by people of great importance. The Chinese phoenix was depicted as having the beak of a cock, the face of a swallow, the neck of a snake, the breast of a goose, the back of a tortoise, the hindquarters of a stag and the tail of a fish. Feng Huang, like all sacred beasts is neither male nor female. She is considered a feminine entity but is not truly a female, the same way The Dragon is considered a male entity but not truly a "male". She is the most sacred beast of all and the consort of The Dragon; not of dragons but of THE Dragon... the one sacred (male) beast.

In Chinese the word "Feng is for males,” Huang” is for females. They represent the ying and yang and complement one another as the peaceful union of opposites. Unlike European Phoenixes, she doesn’t die then rise from the ashes. She is not associated with fire but with wind. She doesn't need re-birth because she cannot die, either of old age or of injury. Even her appearance is different, the European Phoenix is more raptor-like, Feng Huang looks more like a fowl, a pheasant or a peacock, a mystical entity. Japanese mythology The Ho-Oo (Hou-Oo) is the Japanese phoenix; the Ho being the male bird, and the Oo being the female. This mythology was introduced to Japan in the Asuka period (mid 6th to mid 7th centuries A.D.) The Ho-Oo is often portrayed as nesting in a paulownia tree and believed to only appear at the birth of a virtuous ruler. Its appearance would mark a new era by descending from the heavens to do good deeds for people, and then return to its celestial abode to await a new era.

In other traditions, the Hou-Oo only appears in peaceful and prosperous times – a rare event indeed! The Hou-Oo has been adopted as a symbol of the royal family, particularly the empress. It is supposed to represent the sun, justice, fidelity and obedience. Its image was incorporated into a wide variety of items including mirrors, lacquer ware, textiles and chests. Egyptian mythology The Bennu bird is the Egyptian version of the phoenix, and is said to be the soul of the Sun-God Ra. Some of the titles of the Bennu bird were “He Who Came Into Being by Himself,” “Ascending One,” and “Lord of Jubilees.” The name is related to the verb “weben,” meaning “to rise brilliantly,” or “to shine.” The Bennu bird was the mythological phoenix of Egypt. It was associated with the rising of the Nile, resurrection, and the sun. Because the Bennu represented creation and renewal, it was connected with the Egyptian calendar. It was the Bennu bird’s cry at the creation of the world that marked the beginning of time. The Bennu was the god of time and its divisions: hours, days & nights, weeks and years.

Indeed, the Temple of the Bennu was well known for its time-keeping devices. Egyptians had a strong belief in the afterlife as evidenced by the enormous resources put into building the pyramids for the pharaohs. They saw in the phoenix a symbol of the creature who took its life from the sun god Ra and enjoyed immortality. The Bennu bird was depicted as a heron. Archeologists have discovered the remains of a much larger heron that lived in the Persian Gulf area about 5,000 years ago. It is possible the Egyptians saw this bird as an extremely rare visitor, or heard tales from travelers and trading expeditions. It had two long feathers on the crest of its head and in drawings, was often crowned with the Atef crown of Osiris. This was a white crown with two ostrich plumes on each side, or with the disk of the sun. This Egyptian phoenix was also associated with the inundation of the Nile River and the creation. Standing alone on isolated rocks of islands of high ground during the floods, the heron represented the first life to appear on the primeval mound which rose from the watery chaos at the first creation. This mound was called the ben-ben.

The Bennu was considered a manifestation of the resurrected god Osiris, and the bird was often shown perched in his sacred willow tree. Greek and Roman Mythology The immortal phoenix also became a symbol of the undying Roman empire, and appears on the coinage of the late Roman Empire as a symbol of Rome, the Eternal City. St. Clement, a Roman citizen and a product of his time, knew of the myth of the phoenix. He mentions it allegorically in his Epistle. St Clement of Rome: Christian Father: St Clement of Rome was a contemporary of the Apostles and specifically, St Peter. It is recorded that he was ordained by St. Peter and became his successor as the Bishop of Rome. In his letter to the Corinthians, he mentioned the phoenix bird as an allegory of Christ’s resurrection and everlasting life. It seems by this writing he was like his contemporaries and believed the ancient story to be true. There is no mention of the phoenix’s rebirth by fire in this version, but an example of rebirth from death and decay demonstrating the power of God over death itself. St.

Clement’s Letter to the Corinthian Church: CHAPTER 24 -- GOD CONTINUALLY SHOWS US IN NATURE THAT THERE WILL BE A RESURRECTION. Let us consider, beloved, how the Lord continually proves to us that there shall be a future resurrection, of which He has rendered the Lord Jesus Christ the first-fruits by raising Him from the dead. Let us contemplate, beloved, the resurrection which is at all times taking place. Day and night declare to us a resurrection. The night sinks to sleep, and the day arises; the day [again] departs, and the night comes on. Let us behold the fruits [of the earth], how the sowing of grain takes place. The sower goes forth, and casts it into the ground; and the seed being thus scattered, though dry and naked when it fell upon the earth, is gradually dissolved. Then out of its dissolution the mighty power of the providence of the Lord raises it up again, and from one seed many arise and bring forth fruit. CHAPTER 25 -- THE PHOENIX AN EMBLEM OF OUR RESURRECTION.

Let us consider that wonderful sign [of the resurrection] which takes place in Eastern lands, that is, in Arabia and the countries round about. There is a certain bird which is called a phoenix. This is the only one of its kind, and lives five hundred years. And when the time of its dissolution draws near that it must die, it builds itself a nest of frankincense, and myrrh, and other spices, into which, when the time is fulfilled, it enters and dies. But as the flesh decays a certain kind of worm is produced, which, being nourished by the juices of the dead bird, brings forth feathers. Then, when it has acquired strength, it takes up that nest in which are the bones of its parent, and bearing these it passes from the land of Arabia into Egypt, to the city called Heliopolis. And, in open day, flying in the sight of all men, it places them on the altar of the sun, and having done this, hastens back to its former abode. The priests then inspect the registers of the dates, and find that it has returned exactly as the five hundredth year was completed.

CHAPTER 26 -- WE SHALL RISE AGAIN, THEN, AS THE SCRIPTURE ALSO TESTIFIES. Do we then deem it any great and wonderful thing for the Maker of all things to raise up again those who have piously served Him in the assurance of a good faith, when even by a bird He shows us the mightiness of His power to fulfil His promise? For [the Scripture] says in a certain place, "You shall raise me up, and I shall confess to You;" and again, "I laid down, and slept; I awaked, because You are with me;" and again, Job says, "you shall raise up this flesh of mine, which has suffered all these things." The Greeks identified it with their own word phoenix φοίνιξ, meaning the color purple-red or crimson (cf. Phoenicia). They and the Romans subsequently pictured the bird more like a peacock or an eagle. According to the Greeks the phoenix lived in Phoenicia next to a well. At dawn, it bathed in the water of the well, and the Greek sun-god Helios stopped his chariot (the sun) in order to listen to its song.

Featured in the painting Heracles Strangles Snakes (House of the Vettii, Pompeii Italy) as Zeus, the king of the gods. (Wikipedia) Arabian Mythology The Arabian phoenix was a fabulous mythical bird, said to be as large as an eagle, with brilliant scarlet and gold plumage. It was a melodious song bird. It would make its home near a cool well. The phoenix would appear at dawn every morning to sing a song so enchanting that even the great sun god Apollo would stop to listen. It was believed that only one phoenix was in existence at any one time, and it’s life-span was 500 years or 1,000 years. Other life spans were 540, 1461 and even 12,994 years depending on the tradition being told. As it neared the end of its life, it would gather twigs of aromatic plants such as myrrh and frankincense. It would open its wings towards the morning sun and burst into flames. After three days, the egg within the phoenix which survived the ashes, would hatch a new phoenix – destined to repeat its parent’s long life cycle.

The young phoenix would gather the ashes of its predecessor into the egg, with myrrh and take it to Heliopolis, city of the sun, and deposit it on the altar of the sun god. It also represented the death and rebirth of the sun. It is described as an eagle or heron. It lives on dew, killing nothing and crushing nothing it touches. The phoenix is considered the king of all birds. It has also been called the Bird of the Sun, of Assyria, of Arabia, of the Ganges, the long-lived bird, and the Egyptian bird. The earliest reference to the Phoenix was made by Hesiod in the 8th century B.C., but the most detailed account was by Halicarnassus, the famous Greek historian in the 5th century B.C. In Greek mythology, a phoenix or phenix (Ancient Greek φοίνιξ phóinīx) is a long-lived bird that is cyclically regenerated or reborn. Associated with the sun, a phoenix obtains new life by arising from the ashes of its predecessor.

The phoenix was subsequently adopted as a symbol in Early Christianity (around the year 30 and before the First Council of Nicaea in 325). CollectCollect this now for later matilda The Phoenix, known as Benu (Bennu) to the ancient Egyptians, Zhar-Ptitsa to the Russians and to some Native American Indians, the Thunderbird..the Phoenix is an ancient mythical bird with the ability to be reborn of its own ashes and a symbol of resurrection..If Phoenix comes to you as a totem, its likely that you are ready for some type of significant change, renewal or even a life changing transformation :) a desire to reach for the stars.. Favorites CollectCollect this now for later dolores Calypso was a nymph in Greek mythology, who lived on the island of Ogygia, where she detained Odysseus for several years. She is generally said to be the daughter of the Titan Atlas. Favorites CollectCollect this now for later catrulz According to Chinese mythology, the phoenix is the symbol of grace & virtue. Second only in importance to the Dragon. It represents the union of yin & yang, & was a gentle creature associated with the Empress, who alone could wear its symbol.

In Japanese tattooing the phoenix is often twinned with the dragon, symbolizing yin & yang, the harmonious combining the best of feminine & masculine virtues. A phoenix is supposed to represent rebirth, Tattoos CollectCollect this now for later violet Phoenix: This mythological bird that rises from its own ashes before ultimately burning once again is seen as a symbol of resurrection. Often drawn as part peacock and part pheasant with flames toward their tail feathers. Resurrection, new beginnings Favorites CollectCollect this now for later marissa In Greek mythology, Nike (Greek: Νίκη, meaning Victory), was a goddess who personified triumph throughout the ages of the ancient Greek culture. She is known as the Winged Goddess of Victory. The Roman equivalent was Victoria. Depending upon the time of various myths, she was described as the daughter of Pallas (Titan) and Styx (Water), and the sister of Cratos (Strength), Bia (Force), and of Zelus (Rivalry).

Nike and her siblings all became described as attendants of Zeus technology CollectCollect this now for later Hercio Dias EGYPTIAN GOD Anubis is the Greek name for a jackal-headed god associated with mummification and the afterlife in ancient Egyptian religion. The Egyptian sense of aethstetic and design was amazing way back then. Favorites CollectCollect this now for later Flaming June ♡ In Greek Mythology, the Naiads or Naiades were a type of nymph who presided over fountains, wells, springs, streams, and brooks. They were known to be very ancient spirits that inhabited the still waters of marshes, ponds and lagoon-lakes. The essence of a Naiad was bound to her spring, so if a Naiad’s body of water dried, she would die. Soulskin CollectCollect this now for later melissagarsia Europe's oldest prehistoric town unearthed in Bulgaria.Archaeologists believe that the town was home to some 350 people and dates back to between 4700 and 4200 BC. That is about 1,500 years before the start of ancient Greek civilisation.

"We are not talking about a town like the Greek city-states, ancient Rome or medieval settlements, but about what archaeologists agree constituted a town in the fifth millennium BC," Vasil Nikolov, a researcher with Bulgaria's National Institute of Archaeology Favorites CollectCollect this now for later rachelle Inanna, the goddess of love and war, with a lion. No other image of Inanna better illustrates her dual nature. She is depicted as a goddess of love, "showing some leg"; while the lion, and the weapons of battle (maces) seen rising up behind her shows that she is also the goddess of war. In all of ancient mythology, no other deity is the goddess of love and war combined. The eight-pointed star (Venus) is another symbol associated with Inanna. CollectCollect this now for later proteamundi The legendary Furies of ancient Greek mythology | Ancient Origins Favorites CollectCollect this now for later Queen of them all In Greek mythology, Planē or Plane (Greek: Πλανε, pronounced "play-nee") was a Goddess and Personification of Error.

Her name derived from Majickal CollectCollect this now for later graciela Nyx is the ancient goddess of Night in Greek mythology, daughter of Chaos. She was depicted as riding in a chariot, trailing stars and bringing the night, and accompanied by Her sons Hypnos and Thanatos. She could be helpful or harmful to mankind, bringing either sleep or death. Favorites CollectCollect this now for later twila “Fawkes is a phoenix, Harry. Phoenixes burst into flames when it is time for them to die and are reborn from the ashes. Watch him.” Harry looked down in time to see a tiny, wrinkled, newborn bird poke its head out of the ashes. outside CollectCollect this now for later lucile Griffin. The Griffin is a legendary creature with the head, beak and wings of an eagle, the body of a lion and occasionally the tail of a serpent or scorpion. Its origin lies somewhere in the Middle East where it is found in the paintings and sculptures of the ancient Babylonians, Assyrians and Persians. In Greek mythology, they took gold from the stream Arimaspias and, neighbors of the Hyperboreans, they belonged to Zeus.

Favorites CollectCollect this now for later shelby Bird Mountain Bluebird Adopted as the state bird by the Idaho Legislature in 1931, the Mountain Bluebird is one of two bluebird species found in the state. Known for their bright blue plummage, these migratory birds often arrive in Idaho in late February or early March, nest, then migrate south in September or early October Favorites CollectCollect this now for later marissa In Greek mythology Astraea was a Goddess of Justice associated with Innocence and Purity. The celestial virgin was the last of the immortals to live with humans during Golden Age the old Greek religion's five deteriorating Ages of Man. When she ascended to heaven she became the constellation Virgo; her scales of justice became Libra. According to legend, Astraea will one day come back to Earth, bringing with her the return of the utopian Golden Age of which she was the ambassador. technology CollectCollect this now for later Tere Hernández Huerta In ancient Greek mythology, Amphitrite was a sea-goddess and wife of Poseidon. Under the influence of the Olympian pantheon she became merely the consort of Poseidon, and was further diminished by poets to a symbolic representation of the sea.

(In Roman mythology her counterpart is Salacia the goddess of saltwater and the consort of Neptune; another comparatively minor figure). Favorites CollectCollect this now for later Utensil&Gadget Items Preview Early Christianity Fish Symbol The Ichthys - Icon Magnet - Olive wood (6x4 cm or 2.4x1.6 inches) Best Rated Utensils&Gadgets CollectCollect this now for later amoramanda In Greek mythology Hemera ("day") was the personification of day and one of the Protogenoi or primordial deities. She is the Goddess of the gaia CollectCollect this now for later autumn The intent of this book is to merely present before you the compromise that has occurred between Christianity and paganism. Under the facade of Christianity the duplicitous ancient mystery religious system that began in Babylon continues. This religion is perpetuated through the most powerful religious institution in the world- the Roman Catholic Church. How is this possible? In a strategic effort to appeal to the pagans of Rome the Universal Church simply fused the pagan customs and festivals Favorites CollectCollect this now for later proteamundi The Ouroboros or Uroborus is an ancient symbol depicting a serpent or dragon eating its own tail.

The Ouroboros represents self-reflexivity or cyclicality, especially in the sense of something constantly re-creating itself, the eternal return, and other things perceived as cycles that begin anew as soon as they end (compare with phoenix). Favorites CollectCollect this now for later ramona It had been thought that the hominins that lived in Spain’s cave of Sima de los Huesos were early Neanderthals or members of Homo heidelbergensis. But a 400,000-year-old femur from the cave has yielded mitochondrial DNA, which is inherited only through the female line, and it links the residents more closely to the Denisovans than to Neanderthals or modern humans. Favorites CollectCollect this now for later lori Winter Solstice – Yule - the time when the sun child is reborn, an image of the return of all new life born through the love of the Gods. Within the Northern Tradition Yule is regarded as the New Year.The Winter Solstice falls on the shortest day of the year (21st December) and was celebrated in Britain long before the arrival of Christianity.

The Druids (Celtic priests) would cut the mistletoe that grew on the oak tree and give it as a blessing. Oaks were seen as sacred. Favorites CollectCollect this now for later gina Anne Baxter. An actress from the 40s and 50s. My favorite quote of hers is as follows "It's best to have failure happen early in life. It wakes up the Phoenix bird in you so you rise from the ashes." CollectCollect this now for later Hercio Dias by Bajazet - zane is a phoenix rising from the ashes Favorites CollectCollect this now for later proteamundi Nemesis. Melanie Delon. In Greek mythology, Nemesis was the spirit of divine retribution against those who succumb to hubris (arrogance before the gods). Another name was Adrasteia, meaning “the inescapable.” The Greeks personified vengeful fate as a remorseless goddess: the goddess of revenge. The name Nemesis is related to the Greek word νέμειν [némein], meaning “to give what is due”.

Favorites CollectCollect this now for later mry3 Cerberus or Kerberos, in Greek and Roman mythology, is a multi-headed hound (usually three-headed) which guards the gates of the Underworld, to prevent those who have crossed the river Styx from ever escaping. Light & Shadow CollectCollect this now for later manuun Greek Mythology Year of the Horse you will get best price offer lowest prices or diccount couponeHow to Greek Mythology Year of the Horse please follow the link to see fully reviews... Greek Mythology Year of the Horse CollectCollect this now for later proteamundi This beautiful silver pendant of a Celtic Raven is inspired by the ancient Irish goddess The Morrigan. A prominent figure in Irish mythology The Morrigan appears to have been associated with warfare and sovereignty. She is often depicted as a raven flying over the battlefield. Favorites CollectCollect this now for later cathryn A dryad is a tree nymph, that is a female spirit of a tree, in Greek mythology.

History: The Phoenix and the Early Church The Phoenix and the Early Church Daniel Tompsett Or, how a mythical bird rose from the ashes and gave wing to some dubious thinking The image of the mystical phoenix is widely recognized, though perhaps not everyone is familiar with the story behind the bird. Yet the myth of the phoenix was immensely popular throughout the ancient world; even early Christians were quite familiar with it. Nothing more might need to be said about Christian involvement were it not for the fact that some early churchmen capitalized on the fable’s popularity as they shaped the developing Christian orthodoxy. In what follows we will consider the basis of their teachings about the phoenix: a letter attributed to the man who is purported to have been the earliest of the Roman Catholic Church Fathers, Clement of Rome. One particular passage in Clement’s writings spawned a set of ideas that on the face of it may seem innocent and even helpful to believers. As is often the case, however, things are not necessarily what they seem to be. Mysterious Missive Several writings have been attributed to Clement, though most are believed to be spurious. However, he did leave one epistle that is widely considered to be genuine, a letter to a church in Corinth.

It begins by saying that the delay in its sending from Rome was due to “sudden and successive calamitous events,” which appears to be a reference to the persecutions of the emperor Domitian. The date of the message is open to some debate, but if we make the assumption that Domitian’s persecutions ended with the emperor’s death, then it seems likely that it was written somewhere around 96 C.E. The letter seems to have been a response to a situation in which some members of the Corinthian church rose up and deposed certain of their elders. Clement’s exhortations to return to former behavior are derived from both the Old Testament and examples drawn from the early church. This places him in an era when the Hebrew Scriptures were still providing definitive instruction for the conduct of the church, rather than being relegated to secondary status as they were by later generations. The letter is also concerned with reinforcing the truth of Jesus Christ’s resurrection and the hope of a future resurrection for human beings. It is in this regard that we encounter a puzzling passage. In chapter 25, Clement writes: “Let us consider the strange sign which takes place in the East, that is in the districts near Arabia.

There is a bird which is called the Phoenix. This is the only one of its kind, and lives 500 years; and when the time of its dissolution in death is at hand, it makes itself a sepulchre of frankincense and myrrh and other spices, and when the time is fulfilled it enters into it and dies. Now, from the corruption of its flesh there springs a worm, which is nourished by the juices of the dead bird, and puts forth wings. Then, when it has become strong, it takes up that sepulchre, in which are the bones of its predecessor, and carries them from the country of Arabia as far as Egypt until it reaches the city called Heliopolis, and in the daylight in the sight of all it flies to the altar of the Sun, places them there, and then starts back to its former home. Then the priests inspect the registers of dates, and they find that it has come at the fulfilment of the 500th year.” The Catholic Encyclopedia refers to this passage as “curious,” and most today would agree.

What Clement actually understood about the existence of the phoenix is hard to know, though the first line of the next chapter suggests that he gave it credence. In itself that isn’t surprising; as noted earlier, the myth was popular and wide-ranging. “Not surprisingly, early Christian writers construed the phoenix as a symbol not only of resurrection in general but also of Christ himself and his resurrection in particular.” David L. Jeffrey, A Dictionary of Biblical Tradition in English Literature (1992) In order to better grasp the significance of Clement’s use of the phoenix story, we need to uncover some additional background. Let’s first examine the context. The preceding chapter speaks of the resurrection of Jesus Christ as a proof of a future resurrection for all humanity. This is followed by examples from the natural world that suggest to Clement “the resurrection which is at all times taking place”; for example, day and night (“The night falls asleep, and day arises”) and the sowing of seeds (“out of their decay the mightiness of the Master’s providence raises them up, and from being one they increase manifold and bear fruit”). Then comes the story of the phoenix in chapter 25.

Clement’s question in all of this is why followers of Jesus Christ should find His resurrection so hard to believe when the creation itself and even the secular world provide imagery relating to resurrection. But is that all there is to it? Lineage of a Concept If the story of the phoenix was well known at the time Clement wrote his letter, where did it come from originally? According to 19th-century British theologian J.B. Lightfoot, “the earliest mention of the phoenix is in Hesiod,” a seventh- or eighth-century-B.C.E. Greek poet. From the Greeks the story passed to the Romans. In 47 C.E., a bird said to be a phoenix was exhibited at Rome, and Lightfoot suggested that the exhibit “may have been seen by Clement.” Although “no one doubted” that this particular bird was a fake, it seems that people nonetheless believed the stories concerning the existence of such a creature. In 8 C.E., 88 years prior to the likely date of Clement’s letter, the Roman poet Ovid completed his Metamorphoses, an instantly popular work based on Greek mythology. In a section concerning the doctrines of Pythagoras, Ovid wrote of a similar mythical creature.

In Ovid’s version, however, the phoenix built its nest in “a lofty swaying palm” before departing to “the Sun’s holy temple” in “the Sun’s great city.” The palm may have held a combined significance with the phoenix in the pagan world. Dutch historian Roelof van den Broek notes that the ancient Greek word for phoenix sounds the same as the word for palm, a fact from which their classical association “seems to have been determined” (The Myth of the Phoenix According to Classical and Early Christian Traditions). Palms are evergreen, after all, a symbol of perpetual renewal that correlates with the imagery associated with the dying and reborn phoenix. In ancient Greece the palm tree was associated with the sun-god Apollo; his myth suggested that the goddess Leto had given birth to him under a palm. In ancient Assyrian mythology, the tree symbolized the mother goddess Ishtar. The Mesopotamian goddess Inanna, through her marriage to the fertility god Damuzi, was seen as the one who made the harvest of the date palm flourish. And to the Romans, the palm signified the goddess Victory.

Yet another version of the phoenix myth describes the bird combusting in flame, a concept that again links the bird to the sun. The fiery phoenix, just like the sun god, was associated with death and rebirth for the ancient Greeks and Romans. However, it is specifically to Egypt that Clement’s curious example leads. Clement describes the reborn phoenix as taking its parent’s remains “into Egypt, to the city called Heliopolis.” Heliopolis, or City of the Sun, was located a few miles northeast of modern-day Cairo. Clement, like Ovid, provides the significant piece of information that the bird was supposed to deposit its parent’s remains “on the altar of the sun” for the inspection of the priests. The sun god at Heliopolis was called Atum, a god identified with Ra, who was revered as a creator bringing order out of chaos. Atum is often depicted in human form, seated on a throne, holding a staff and wearing the red and white double crown of Egypt. The Egyptian sun god was believed to have risen from the chaos-waters as a benu (or bennu) bird at creation, and this lore appears to be the source of the myth of the phoenix.

According to the Handbook of Egyptian Mythology, the word benu “probably comes from an Egyptian verb meaning to rise and to shine.” The same source notes that from “the Pyramid Texts onward, the benu bird was closely associated with the creator sun god.” David Fideler suggests that the benu bird was believed to be the “soul of Ra” (Jesus Christ, Sun of God: Ancient Cosmology and Early Christian Symbolism). A Fable Takes Wing Having thus been carried from Egypt to the Greek and Roman world, the pagan phoenix-in-the-palm myth—symbolizing a mother goddess and a creator/sun-god consort—was easily absorbed into Christian symbolism and artwork. Clement was the first non-pagan writer to find new meaning in the myth. In his retelling of it, he specified that the bird’s nest was “of frankincense and myrrh and other spices.” Whether this was a conscious effort to link the myth to Christ’s birth is impossible to say, but later Christian writers similarly limited themselves to naming only these two. Yet numerous spices, most often including cinnamon, are mentioned across various traditions of the phoenix myth.

So the fact that two of the Magi’s gifts are among them can have no real symbolic value. “The anonymous author of Physiologus infused these venerable pagan tales with the spirit of Christian moral and mystical teaching, and thereafter they occupied a place of special importance in the symbolism of the Christian world.” Michael J. Curley, Physiologus: A Medieval Book of Nature Lore (2009) A century after Clement wrote, Tertullian (an early Latin Church Father) again used the example of the phoenix in connection with resurrection. The story also featured in another piece of writing that appeared about the same time: the Physiologus, a Greek work that described real and mythical animals and outlined their allegorical significance for the developing Christian orthodoxy. Its author added a new detail to the phoenix story—that the bird died and returned to life after three days. “The motif of the three days was inserted into the existing tradition by the author of the Physiologus as a means of bringing out the typological symbolism of the phoenix: the events in the life of the phoenix are meant to reflect those in the life of Christ,” says van den Broek.

Writing a little later, another early Church Father, Origen, also thought the pagan mythological bird might be real (see Contra Celsum 4.98). He spoke of it as an example of the variety and harmony to be found in God’s creation. In the fourth and fifth centuries, Church Fathers including Ambrose, Cyril of Jerusalem and Jerome were still repeating the myth, and some began offering it as a God-given proof of the reality of (Christ’s) resurrection. In the words of Cyril, “God knew men’s unbelief and provided for this purpose a bird, called a Phoenix” (Catechetical Lecture 18). And around the sixth century, an anonymous Coptic preacher wrote a sermon in which he claimed that the phoenix had first been seen at the time of Cain and Abel, and that it was last seen just after Jesus’ birth, “which now indicates to us the resurrection.” Little by little, Christian writers began to read more into the various references to the strange creature. They noted its uniqueness (“the only one of its kind”) and began to interpret the phoenix of pagan myth not only as a Christian symbol of virgin birth, renovation and resurrection but as a type or allegory of Jesus Christ Himself.

Other aspects of the pagan story have worked their way into Christian literature and iconography as well. For example, the Catholic Encyclopedia records that Origen dubbed the palm tree “the symbol of victory in that war waged by the spirit against the flesh.” This source further asserts, “In this sense it was especially applicable to martyrs, the victors par excellence over the spiritual foes of mankind; hence the frequent occurrence in the Acts of the martyrs of such expressions as ‘he received the palm of martyrdom.’” It’s hard to avoid making a connection between Origen’s words and the Roman view of the palm as a symbol of the pagan goddess Victory. Van den Broek notes that “in early Christian art the phoenix was often shown on a palm-tree,” symbolizing “the triumph of Life over death.” For example, the Museo di Roma houses a fragment of a 13th-century mosaic from Old St. Peter’s in Rome, which shows the image of a phoenix. The mosaic decorated the basilica’s apse and depicted Christ enthroned with the apostles Peter and Paul on either side.

Antonio Iacobini, in an essay titled “Est Haec Sacra Principis Aedes: The Vatican Basilica from Innocent III to Gregory IX,” relates that within the mosaic “the phoenix rested on the palm tree” behind the image of Pope Innocent III. Van den Broek remarks on early Christians’ ability “to preserve ancient conceptions deeply rooted in Classical culture, adapting them to their new experience of faith and life.” In a sense, none of this should be surprising. After all, members of the dominant Christian sect based in Rome would have been eager to find common ground not only with their own roots but with the pagan masses they hoped to convert. Still, though the adaptation of the phoenix myth may have appealed to prospective pagan converts, it is at odds with the divinely inspired Scriptures that Christendom claims as its own. The apostle Paul pointed out to a group of listeners in Athens that we shouldn’t think of God in terms of “an image formed by the art and imagination of man” (Acts 17:29, English Standard Version); while the context here is carved idols, the principle surely applies to viewing Christ’s death and resurrection through the characters and story line of a pagan myth.

There is no way to prove that Clement—whatever he may have believed about the existence of the phoenix—intended anything more than to offer a well-known illustration of “resurrection” to point out the disingenuousness of those who rejected the very concept as strange and unknown and on that basis rejected Jesus Christ’s resurrection; yet his use of the mythical phoenix as a “sign” became the basis of a fable about the reincarnation of Jesus Christ as what amounts to the ultimate sun god. It exemplifies the eventually widespread rewriting of “the Christ story” in pagan terminology, a practice known as syncretism. Clement’s letter provides an interesting historical perspective on the state of Christianity at the end of the first century. His extensive use of the Hebrew Scriptures is in keeping with the early New Testament Church, founded by Jesus Christ and based in the same Hebrew Scriptures—the only ones available to Him and His earliest disciples. What emerges from this study of Clement’s letter and later forms of Christianity is the progressive reduction of the original teachings of the New Testament Church, founded on the ancient Scriptures, to pagan conceptions. This fact alone severs any meaningful link between what has come to be called “Christianity” and the teachings of Jesus Christ and the apostles.

In departing from a deep appreciation of the Hebrew Scriptures and often borrowing instead from pagan themes, Christianity in fact departed from the founding principles of the New Testament Church. Selected References N.F. Blake (editor), The Phoenix (1968). Michael J. Curley (translator), Physiologus: A Medieval Book of Nature Lore (2009). John Fotopoulos (editor), The New Testament and Early Christian Literature in Greco-Roman Context (2006). Madonna Gauding, The Signs and Symbols Bible: The Definitive Guide to the World of Symbols (2009). Robin Hard, The Routledge Handbook of Greek Mythology (2004). Misako Himuro, “The Phoenix in the First Epistle of Clement to the Corinthians” in Renaissance Studies (1998). Kirsopp Lake (translator), “1 Clement,” in The Apostolic Fathers, Volume 1 (1919). J.B. Lightfoot (translator), The First Epistle of Clement to the Corinthians (1890). C. Scott Littleton, Gods, Goddesses, and Mythology, Volume 4 (2005). M.R.

Niehoff, “The Phoenix in Rabbinic Literature” in The Harvard Theological Review (1996). Geraldine Pinch, Handbook of Egyptian Mythology (2002). Pat Remler, Egyptian Mythology A to Z (2000, 2006). Cyril C. Richardson (editor), Early Christian Fathers (1953, 1996). Alexander Roberts, Sir James Donaldson, Arthur Cleveland Coxe (editors), “St. Clement: Epistle to the Corinthians,” in The Ante-Nicene Fathers, Volume 1 (1885, 2007). Roelof van den Broek, The Myth of the Phoenix According to Classical and Early Christian Traditions (1971). Karel van der Toorn, Bob Becking, Pieter W. van der Horst (editors), Dictionary of Deities and Demons in the Bible (1999).

Question: According to Greek mythology how often does a Phoenix rise from the ashes of its predecessor?
Answer: 500 YEARS